Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Finland and from Taipei.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1972.
I'm losing my edge.
To all the kids in Tokyo and Manchester.
I'm losing my edge to the art-school Lagos kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1973 at the first Television practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Sällskapet to the techno kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Jacques Brel. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Nation of Ulysses,
Neu!,
Pete Rock & C.L. Smooth,
Yellowson,
Lizzy Mercier Descloux,
Banda Bassotti,
Dead Boys,
LL Cool J,
The Victims,
Cecil Taylor,
Mandrill,
Deadbeat,
KRS-One,
Mars,
The Monochrome Set,
Beasts of Bourbon,
Andrew Hill,
The Neon Judgement,
Unwound,
Oneida,
Cybotron,
Make Up,
Camouflage,
Bang on a Can All-Stars,
Gang Gang Dance,
Zapp,
Crime,
Danielle Patucci,
June Days,
Grandmaster Flash and the Furious Five,
Agent Orange,
Radiopuhelimet,
Nas,
X-101,
Minnie Riperton,
Jesper Dahlbäck,
Anthony Braxton,
The Smoke,
The Last Poets,
The Names,
Lucky Dragons,
Rekid,
Aaron Thompson,
K-Klass,
Brass Construction,
Massinfluence,
The Peanut Butter Conspiracy,
Boredoms,
Kool Moe Dee,
Popol Vuh,
Richard Hell and the Voidoids,
Lower 48,
Boogie Down Productions,
The Pop Group,
Lou Christie,
The Mighty Diamonds,
Be Bop Deluxe,
Basic Channel,
World's Most,
Blancmange,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.